10 Cloverfield Lane: Live Q&A Watch-Along w/ Director Dan Trachtenberg

published on July 2, 2020








































































































hello and welcome to watch from home

theater our weekly cozy little live

stream you to watch movies together even

while we're apart I'm Clint gage Anton

we are watching 10 Cloverfield Lane so

here's your cue if you own a copy 10

Cloverfield Lane get it queued up to the

very beginning all zeroes in the time

code before the Paramount logo comes if

you don't own the movie there are links

in the description down below of all the

places that you can go rent it if you

want to sync up with us as we watch it

tonight so we'll give you a minute to

get all that squared away and in the

meantime joining me this week is Sidney

Goodman Sidney how you doing I'm good

I'm so excited like so excited I was

just easy okay well great but also

joining us of course our very special

guest director of 10 Cloverfield Lane

Dan Trachtenberg

dan thanks for joining us how you doing

I'm good and by the way I will rest

assure to the people that are may or may

not or worried about sneaking up with

the movie I'm sure that we will not be

in sync with what we're saying to what

we're watching is I may be long-winded

and some explanations of things so have

no fear great well we'll be sure to

check back in with with the movie we're

watching it yeah a few a few points so

while if we can well thanks for joining

us from you know while we're all

appropriately socially distanced here

I'm of course you know in my garage

again it's hot this week so hopefully

you just have to bear with my sweat a

little bit but where you guys coming

down is that a is that a teepee in the

background there it is my I'm a three

and a half year old daughter so that

acts her like great you know her hangout

that's the hang awesome yeah well while

everybody's getting the movie queued up

let's just start with a little bit of

general business about the film can you

can you talk a little bit about the

origins of the movie because I know it

didn't start as a Cloverfield movie

right um it started out as a script that

bad robot bought called the cellar

that was contain thriller three hander

and JJ had the and obviously if you're

watching this you just I'm gonna not

worry about spoilers because this is a

poor first time to anyway we can just go

ahead and give the spoiler alert right

here robots for a minute

right yeah that's good but JJ had the

instinct to do though like oh my this is

great but what if in the end aliens and

so he had Damien Chazelle come on to do

a rewrite to do that to the movie

Damon was gonna direct it and then he

got a shot to make whiplash to make a

future out of the short film that he had

done that went off to Sundance and all

that stuff

so he left the project and and I was

hanging out at bad robot pitching my own

stuff and they were like hey are you

free this summer to make it but because

that because they concede at that time

was like let's just make a movie in the


JJ's obsessed with the idea of making

movies inside just in the garage like in

the office and almost every single one

of his movies have had significant

sequences done even Star Wars bets done

in the office on the roof in and it's

anyway in a hallway we've ended up

shooting some scenes of this movie in

the office including the car crash so

but the idea was let's go right away I

was actually on the Y the last man movie

at this time and thought though I could

sneak this in before that movie happened

that movie didn't happen and then this

growing a little bit from the first

notion of it and almost a year working

being on myself and another writer

that's guy named Jack Casey who wasn't I

didn't end up getting credit on the

movie but did

I don't know I think he throws

so this is a good time to mention that

like I said we're all watching from home

here and we're all dealing with our home

Internet and sometimes it's as good as

other times so we will try and get dan

dan back this as quick as we can yeah

but I mean while we wait for him I'm

sure we can talk about just like the

Cloverfield franchise in general yeah

cuz it is a really and I was gonna

piggyback on something that he said

about aliens equals Cloverfield and I'm

curious client like what I feel like

Cloverfield I love that franchise and

there's more to it than just like aliens

equal like aliens plus bad robot

productions equals clover fields you

know like I think that it's really

interesting because all the films do a

great job of like identifying the human

experience and I think that you can look

at that under a microscope when there is

aliens and there is this like disaster

moment right yeah


I'm sorry um I I love the the fact that

they're not direct sequel that they're

you know and and I think we can we

should have Dan this when he gets back

and it'll be hilarious if he's there

listening to us – screaming – and now I

can hear you can you merely but the idea

that that it's kind of a spiritual sort

of up side truck your back my wife I

went out um but maybe maybe this someone

hit a switch somewhere and restarted it

and now we'll be good and now that's

perfect that's right okay so we were we

were just vamping about Cloverfield in

general and how I was I was just in the

middle of talking about how I like how

they're not direct sequels how they're

sort of spiritual connections and even

though the Cloverfield paradox had some

had some fun sort of side business to

take care of but but anyway that's

that's what we're I think we I do have a

question about that though is how much

do you establish before you guys started

filming or finished

you know production about it's obviously

10 Cloverfield Lane is not a school but

what does it share with clover fields

like how much was that established

before you guys started everything you

mean in terms in terms of like is it the

same monster are the monsters brothers

like like I don't know like what threads

are connected got sibling sibling

monsters yeah look a mite

morphed as it evolves but when it be

when we decided to give it that title

the concept was that it's like Twilight

Zone except instead of calling it the

Cloverfield zone or whatever in any

movie that comes out you would have

Cloverfield like in the title as a fun

way of doing it but they conceit was

anthology Twilight Zone

there was definitely discussions and

part of the idea came from a very early

on discussion when we were doing the

creature design of what if we just made

it the Cloverfield you know and then but

we decided to specifically not do that

so it always was just this is a it just

so happens like if the if the space one

had come out before hours I think it

would have it was so distinct just two

distinctly different that the Twilight

Zone thing would have been a little bit

more clear but I think because we had

this creature at the end and it it looks

like it could be a creature from you

know like that some confusion but the

instinct was for her to be as twilight's

of a thing now that may change and there

may be away like black mirrors black

Museum you like where there could be a

thing where suddenly oh these are linked

in some awesome way but we evolved into

the idea of how cool it could be to be

an anthology series it wasn't how it

started as you guys are aware yeah well

that's this one my favorite thing things

about these movies it's like you don't

need sequels like it's the DNA is all is

all there and similar and so we're gonna

start the movie here in just a minute so

let me give everybody a little bit of

time to get over and hover over the play

buttons but yeah so this will we'll just

we'll get it going if everybody

is ready we can start the movie I'm

gonna go ahead and start counting down

the countdown from what was it normally

I just do three should we do five this

time for some reasoning five yeah to

five this time yeah five four three two


play that Banting brought to you by no

from last week right so – I didn't I

didn't give people enough time this is

actually you know in doing these it is

interesting to talk about production

logos and paramount and and studio logos

I get because everybody's everybody's

got like their favorite totally their

opinions on studio logos I give a whole

spiel at the premiere about how big a

deal the Paramount logo was to me

because of Raiders of the Lost Ark

that's sort of the first movie logo that

you recognize so having that in front of

something thing I made of all the logos

it was a it was definitely that's cool

it was a big deal yeah that opening shot

was a still image we this and this was

shot the office is that bad robot oh

yeah that was it we shot some plates in

New Orleans but they had to make it we

did not that shop wasn't the initial

opening for the movie so we found a way

to take those stills and bad movement to

the water and all that stuff and and

then gave us the shot so was this still

going to be the opening scene no or did

you guys cut things from the beginning

this this scene was though the movie had

like so many different openings I can't

even tell you at different points the

initial opening for the movie was

Michelle in the car or she's buying

liquor the liquor store with her best

friend and

uh we shot that and she's in the car

talking to her boyfriend she's on her

way to go visit his parents for the

first time and she's feeling nervous

about that

so it's essentially it was a very

familiar horror movie opening where

someone our protagonist is worried about

something frivolous and then something

crazy happens and now they have to

really you know um but it always felt it

wasn't great and wasn't really formatic

and we marry and I especially were very

driven by the idea that this is someone

who would be breaking a cycle in some

form by going through this and and

someone who was running away from their

troubles in the beginning so it's

running away and at the end of the movie

could be running towards trouble when

then would that be a happy ending so as

always we were constantly trying to

craft an opening that could support the

end that we wanted to get to and it

which took many many many stabs and this

was our eventual step by the way the the

actress who played her best friend in

the liquor store was my erskine who's on

that show pen15

that is amazing yeah so good but yeah

one of the other things that I really

like about this opening is just all of

the the exposition and character that it

gets across with with just through

visuals and tone like you know there's

no real dialogue or did it sound like

it's just it's mostly just the score

right until she gets here today it's a

gas station yeah yeah yeah this is K

this is Kelvin gas station which is a

fixed Kelvin is a name that is in all of

JJ's movies and Calvin was a gas station

in super 8 and there's a Slusher thing

there too which was a better but yeah

the psycho was certainly an inspiration

for us it has a very unique structure

and so this always this opening felt

like a little bit of a embracing our

roots with that the score is very

bernard herrmann ii and similar to


but also a woman on the run

not knowing well for us not knowing

where so the car crash I guess I should

mention else is Bradley Cooper yeah we

gotta get some Bradley Cooper by the way

before we get to the car crash yeah I

mean it's not a juicy story it's like

it's just a voice on the phone and it

wasn't it used to be your boyfriend it

was no longer her boyfriend so it was no

longer that I mean it's her fianc but it

was it used to be this other character

that had mattered in a different way

and so we just had a million new people

record this audio from actor friends to

assistance to receptionist's at the

office to my ad the editor and it just

never was right and then we were in the

editing Bay one and JJ did like a thing

that you like dream that happens in how

what he's like you know let me just text

my friend Bradley see if we'd want to do

it emails

Bradley and then music hey he's down he

just a little email of what you're

thinking and I was like okay and I wrote

probably Cooper an email and then he

records it on his phone obviously and

then that's that so and so the spur

crash was done entirely in there's one

shot that's a Beck sequence used to be a

wonder where we were on the phone though

if the phone was more significant in an

earlier version than it is now that

shots entirely CG that we're on right


most all that sequence the car is real

everything else with a CG but it was

really merry selling it you know with

close-ups of her the camera shaking car

spinning a little bit on a blue screen

and mixed with a few of those other

special moments and that gave us

something that was far more aggressive

than the initial intention this shot

we're opening with her waking up in the

cell was the first one of the entire

production first shot I ever did as a

person making a movie for the first time

and there's a

there's the there's a book on making

movies by sitting hula met and he says

always start is it advice to filmmakers

it's always start on the easiest thing

so you get into a good rhythm and you

prove yourself to the crew and I did the

opposite and I was sort of fixing it on

like we sat most the movie in order so I

really wanted to start with her way I

just I don't know I was an idiot and so

I just want to mention before I finished

my story

we this is to take scrap together there

was a focus buzz right here and the VFX

Department right there grafted another

take that was in focus when we were on

her knee and comped it into the shot so

we know this took 16 takes but

ultimately it was a combination of one

take that had the great movement and

like right here there's a wall that's

being moved out of the ways to make room

for the dolly coming look at that was

very loud this was the first one that

you did it was not smart and cuz we

didn't really nail it

we never first shot and I didn't get it

we ultimately had some that was mostly

good and then we were able to creative

the effects solved so so what was the

purpose that you guys wanted to shoot in

the sequence well I think anyone who's

making movie wishes they could shoot in

sequence you never really can we lucked

out and that we props to our production

designers guy Ramsay Avery we built this

whole structure connected it was except

for a stairway and one separate room it

all was connected so there was no like

oh we only have this location at this

day and this location at that day and so

we'd this order and we only have three

actors we didn't have two a comment and

there in the whole friggin movie

practically so we didn't have to

accommodate for someone's schedule so we

could shoot an order so we did we mostly

did that we we sort of shot in order of

cuz this sort the story goes through

several shifts of what we believe is the

truth and we sort of shot we're in this

headspace now and then okay now then we

go back to Michelle's room now we're in

this headspace we shot through all this

and now we're in this headspace

all the locations yeah her room being

half pink was a real deliberation let me

tell you because on the one hand we've

been interesting if it was all pink in

the other hand pink is really and I

still might the DP and I always say that

we've worked together since and we

always like some of the look of this

room pains at us because pink doesn't

look very good on camera and so we

figured out well actually it's

interesting to tell the story of like

this guy was doing something something

was happening in this room that was it

was transforming into something in the

he got he stopped Midway for some reason

and then there's something cool about

that yeah there's always a story behind

a job that's it's not done right yeah


okay if you're if you're just now tuning

in we are in the middle of 10

Cloverfield Lane yeah we just started

that's an Trachtenberg if you want to

cue up your movie there's time code

that's running on screen that's where

we're at

so you can jump ahead to the right

timecode there we're also taking

questions from everybody so wherever

you're watching leave make sure you

leave a comment in the YouTube or in

discourse wherever you have been

watching this and we will try to get to

and ask it on air and this this

introduction here of Howard John

Goodman's character I thought was like

there's something that's really cool and

can guide you about it honestly right

just just the the legs coming down in

front of cameras too I mean just the

idea that this is sort of a successor to

Cloverfield it's part of the same you

know there's something that really

struck me about his introduction whoa

that's awesome yeah I avoided I wrestled

with this this was challenging because

there's so much like to not show his

face and the show it was obviously the

intention and it's a big reveal moment

it also puts so much stank on it that it

always felt like this to over the

tightly this is crazy when you're inside

it just be I felt so cheesy like I don't

know but ultimately I think we started

right there is just finding the right

take and the right you know I really

that was also this scene was what we

went to to find the piece of score for

his theme and and the idea behind it was

to find an instrument that was an

something a melody that was as haunting

as once my time the West has that theme

that recurs throughout and and it's

revealed what it's associated with and

that's horrifying and we really wanted

to give him something a distinct

instrument or you know can't really hear

it out but that is a wonderful

transition now and so there's a question

here from somebody watching on IGN's

YouTube channel forgive me for

mispronouncing misto Alfie so off he

asks what was it like working with Bear

McCreary on the score for this awesome

huge I'm the huge I was huge fan of his

work he's done a lot to a lot he's

prolific but loved the battles vows star


yes like he could not get over uh he did

the score first step up 3d and there's

one cue in that movie that is absolutely

beautiful and I represent him all the

time and made him like send it to me so

I was so looking forward to working with

him and loved the process and he we're

just we're both big movie score fans and

I don't really I'm not a music person I

don't have a good music vocabulary I but

I do have a good movie score vocabulary

so constantly my ability to communicate

with him was like let's do some Jay

Goldsmith twinkly things here to make it

feel like it's sci-fi or what you know

like it he was like super into it um

spoke my language which was great

there's a piece coming up here you'll

see that that's not as sharp as the end

result it was digitally sharpened that

that's the bottom part that's

is digital the is a comp the body of

clothing sheets and stuff yeah because

there was a continuity there was a we

like used we shot the scene differently

than how it was cut so to cover up that

we put the the the bottom screen gave

away that it was like her bed was still

together it wasn't you know whatever so

we count that in to disguise it do you

think there's there's something really

really cool about her character here in

that in talking about the the when we

first meet her and you establish that

she's you know running away from him

from trouble but then like here she's I

like that she's so actively immediately

trying to get out of the situation let

me tell you it was the thing that we all

love it's why we wanted to make it it's

why everyone was excited about it it's

also the thing that made the

storytelling challenging because the

easiest thing to do is zero to hero

right the easiest thing to do is

incapable becomes capable but we all

liked is showing how capable she is

flawed but capable so it forced us to

actually find the thing that I was just

talking about the beginning the movie is

that her story has to be an emotional

one that she has to have some emotional

flaws the things that she's not dealing

with that she has to confide in to us

and to Emmett later in the movie and

that's what she's dealing with it can't

be that she's an inept and then becomes

apt in Italy the scene was just she was

holding the thing and then he comes in

she stabs him I always love our Edition

to realize he's not gonna come she's

gonna wait here all day and he's never

gonna come yeah draw him in I always

thought was really cool he's about to

walk in and talk about the like medicine

that he gave her and this was a whole

thing to like finding what's the right

medicine and I've like I have a doctor

brother-in-law who told me one thing at

the onset medic told me something

different and like I don't remember who

we sigh with but one of them said oh

it's the wrong one when they saw the

movements like bullet

you're the expert somebody tell me

somebody who went to med school told me

this yeah that toradol okay so what we

ended up with so someone can type into

the chat I so yeah got it ready yeah so

I always found this really interesting

that he like explains everything except

for her leg being chained to the wall

was why not have him like lie about why

he would chain her leg to the wall like

he just kind of doesn't mention it I

feel I could be wrong but I feel like he

says something that's for your own


so something dismissive like my internal

logic is you didn't want him to do what

she did look like I don't leave him

right in like you didn't want her to get

up and yeah from like I'm abducting you

and not a good person totally makes

sense why human chain her to the wall

right from now helper yeah from like a

convincing her that he's on her side I

always I found it interesting that why

even bother tackling that totally and

also why she doesn't fully believe like

we're not at they were in this moment

we're skeptical and not believing the

the the model for the movie is misery

misery and dead calm are the two closest

comps but the difference for us is those

movies is we're believing the story and

then we're slowly doubting it as it goes

or unsure are we with someone scary or

not this is the opposite this is I'm

with the psycho I need to I need to get

out but then slowly but surely but maybe

I've misjudged maybe I'm not and maybe

there's you know so it was key for us to

not trust and not believe from the get

definitely a lot of over explanation and

under exploit like the scene went

through a lot of different edits to

where are we over explaining are we

under explaining and I'm great there's

something great to about about Goodman's

performance issue is that you can tell

he's kind of holding back a little bit


which is really interesting

yeah he was not an idea until slightly

later in the process and now it's

obvious like why how can we not have

thought of him right away but the thing

that triggered for me was thinking of

him and then I watched some interviews

he did he doesn't love doing press and I

lost watched a long-form interview with

him I love that lucky I friggin love

that look I'm so proud yeah I really

wanted that to be I don't know if I made

into a trailer I would always feel like

that's such a great creepy look for a

trailer but he was like very agitated

with whoever was interviewing him and

but trying to still go on with the

interview and it's like that was the

like that's Howard that's great and

using him in a way that we don't often

see him that he's sort of on Roseanne he

was America's dad and so lovable and it

was great to make him a horrible dad so

anyway I'm putting it yeah I gotta say

Mary this whole section had to be in

such high emotion and there were so many

times where like remember she grabbed

the phone and then there was some

monofilament with tape Monfils like

fishing wire with you know like suddenly

flashed the camera when she picked it up

and we're all ago no she was so awesome

and in it and she ripped the tape up

like we didn't say she just somehow

instinctually knew like oh that's but

she was still in the zone it was like

this magical I don't know how great

actors to do it and she's one of them

where like she's on the one hand doing

something that is as if she's completely

unaware there's a camera there and then

the other hand completely where there's

a camera there and so and does things

that are for the production needs not

necessarily the character like it's just

mind-blowing going back to what I was

talking about with John Goodman sort of

being an option showing up kind of later

in the process who's another question

from somebody Washington if it's on

YouTube Daniel are

as how much time did you have for

rehearsal with everybody before the

production started up we were very lucky

due to what I was describing earlier

where we built this whole set and so

while we were doing the finishing

touches I went all the actors had

arrived in New Orleans and we were able

to rehearse in the spaces themselves

unfinished but still so we had a

possibly two weeks to really go through

it we really just went through several

piece scenes and didn't overdo it

but we were able to get enough of a

handle on it that gave me the DEP some

lead time in and understanding what the

blocking was probably gonna be based on

those rehearsals and it was the way to

do a first experience that's for darn

sure so we were very prepared this

seemed we reshot with Emmet for the

first time we shot it we changed some of

the dialogue and the first time we shot

it the camera was looking down on him

and I just felt like I mean the whole

effort was we I wanted people to trust

him I don't know that that was ever an

accomplished full task so we knew what

we were doing at the movie and I wanted

to try it but I liked that we weren't

doing that thing where and then Emmet

turns out bad and like I wanted it to be

like no no he's a now I want to enjoy

these two people that have to deal with

this I would enjoy the movie as much as

possible with them I don't think the

structure coley allowed for that and I

was trying to fight it so much but I I

try to help solve it by putting the

camera more on his level and we added a

little bit more humor to what he was

saying but ultimately maybe some people

because they're familiar with John

Gallagher jet-like will instantly be

more okay with him but it's a movie

where we don't know what's happening and

we're gonna have some distrust and it

may take longer and I just probably

should have let that go but I couldn't

so I have a question but it might be too

spoilery so if it is we can wait and you

can answer but so Emmet see it's eluded

that Lake he obviously helped how

build this right but then we also

learned that Howard had would say other

occupants mm-hmm I always wondered like

did Emmet know what he was building like

was he really that naive that he this

was just like a doomsday preppers

situation I'm like how am i how do I

even how compliant was he with the

Howard in his plan and we can get to the

full answer later I just wanted to say

it put it out there while we're talking

about do we trust em it or not got it

yeah I'm happy to answer whatever you

guys do cuz I'm really bad at spoilers

but wait Howard just says no touching

and which we now all know is what we are

not supposed to do when we're in

quarantine so right okay that was that

was the other funny thing INRI watching

this movie and first meeting in it I was

like oh look he's got quarantine here

like I do know he just needs a haircut

real bad but then later we find out he's

only been there a couple days yeah as we

say I loved the way the scene was cut

and there this this was the day after we

shot it editor was put had put just

discussed the fine group it's a good

friend it's awesome

just got the new Star Wars movie but he

put this was first pass of the scene did

this awesome thing where they were

having this conversation and he refers

to the bathroom and privacy whatever I

don't know all the lines and then we cut

to the wide and reveal it's right that

you know liked it

that was not the initial intention was

that it would be disguised and there

were some passes that other people

worked in the movie we're like we should

see right away we had one understand

good wide shot we into the room and

you're making mystery movie you don't

always want to enter I didn't get all

those things back and this bat was I

thought such an expertly done cut of the

scene and was there from the beginning I

will say I love the way that the did

this film is Crichton

we've done and that shot right there is

just he's overhead the tiny little

bathroom if it's sitting in the showers

yeah but I the the way that that the the

film is cut and particularly and as

we're getting towards this first dinner

scene where the three of them are at the

table yeah because the way that it cuts

back and forth a conversation with three

people standing in a circle talking is

one of the sneakiest like difficult

things to cover in an interesting way to

end to shoot right and I think I hope

you did an amazing job because like the

short shifting dynamic between these

three characters and who the conflict is

is between at the moment and where the

third person stands in that conflict

everything is really so as we get closer

to this first thing where they're at the

dinner table I'm just talking about like

the way that the movie is fight and how

it sort of illustrates the power shift

that's kind of happening with three of

them thank you I'm I'll tell you a I

just want to mention to this shot of her

we were in the Y it was at the movies a

million split screens in it you know

using one take for one portion of frame

another to take for another frame and

this scene is gnarly because the bottom

half of Mary is one take and the top I

half of hers and another tape cuz it's

all about his the cotton because Goodman

kept picking up like a spoon in one take

and especially and it like he got just

grabbed been different props so when

he's in the foreground so it was see

there he's got a wooden spoon yeah it

was messing with it so but we you know

we got to pick the best performance so

he picked one take for her top what's it

for bottom Mary once again so on it so

professional nailed remark every time

settled in the exact same way on that

mark that we were able to do that coming

the top half in the bottom half because

of how rad she is I wonder if she saw

all the different stuff that he was

picking up and was like I better keep

still she is that good this was I

welcome mat I remember really

deliberating on should the welcome mat

be facing us or facing like is welcome

at for when you come in through that and

you enter or is a welcome mat for when

you're leaving to go to the outside you

like I you know and I I think the issue

was it makes more the first thing I said

makes more sense but it felt like it was

too presented to camera that way so I

don't know I think some of this stuff I

wait take everything I say with a grain

of salt because I bet this is four years

ago actually we shot it six years ago

probably so my memory is fuzzy coming up

we're gonna see shot of these dead pigs

we had shot practical we'd built dead

pig prosthetics JJ didn't think it was

gory enough so this was redone entirely

CG this whole shot that's CG fix which

was great I loved I loved that he pushed

with it because that's definitely way

gnarlier than what we had initially

there was actually a moment when we find

it here in this yeah there's a Jensen

epic on discord asked that if there was

an r-rated cut of this as I've heard

there was an r-rated code of the film

and what made it r-rated if that's true

not really I mean not in it and you're

having a Gore up your pigs know that yet

the court the pigs were fine there was I

mean the first time we showed it's APA

they said it would get enough it's not

like it's an R it's like this would have

an R here's a suggestion of how it could

not and we always wanted to be pg-13 so

and it was just the amount of there's

nothing with him it was the amount of

blood at the end when he's grabbed onto

her ankles and there was a shot there

just was too much blood in one of those

so we got to just get rid of some place

I was Cameron there's no like

say you didn't you didn't all with more

than just bad language our ad was really

pushing me to shoot and we did shoot

Emmett from the front getting shot I

guess that's the spoiler that you didn't

want yeah we did the spoiler alert

earlier yeah yeah but I was like I'm

never gonna use it that's not the way to

do it it's gonna be ways like you never

Dan I'm telling you you never know we

gotta cover it we're here we're here

we're already doing it we got to get it

and so we did the the but obviously we

didn't use it but it his girl John got

your genius girlfriend was on set

watching her boyfriend getting shot in

the head opener and she like had to

leave and good like it was like a

horrible distressful thing as you can

imagine like it was so real it was so he

was so good he took that well you don't

know and watching the movie sees it but

we were all like oh my god it was very


sibel I mean they wreck that it could be

an already cut with fat not be the right

way to just add a little extra blood and

it's already knows yeah about this thing

I'm trying different justice this is

where we discover that he was he heard

himself trying to get in is the

backstory there that he that yes no I

don't I mean he is a naive dude he's

awestruck see in his world video but I I

don't know that there would have ever

have been a coinciding moment of him

initially helping him build this thing

with also with captors so that I don't

know that there ever would have needed

to be an overlap or he would have like I

think his belief would be I mean frankly

it's what I'm thinking now I wish I had

a doomsday bunker and he was probably

thinking how was a smart guy for do is

there's lots of people that have bunkers

so he just figured he was one of them

this felt like a traditional structure

he would not have had to see any

handcuffs or anything weird during the

construction of it is that that make

sense that make sense cuz I guess in

build a it's not to like meant a day

he's not like no he's not tending to the

garden he wasn't there helping to paint

the room or anything no he just was

there to build it and I think its first

occupants were his family which which

tracks so oh interesting I never even

thought about that his family actually

being real I mean you know it's one of

those things I think that's the case but

yeah well he wears a wedding ring Irish

I noticed that when he was opening

airlock yeah you know I think he I think

he has I think he has a wife and kid I

think what we don't know is does he stay

how old are they still with us

especially his daughter i we don't know

did they get away from him because he

was acting crazy

you know or that's the fun thing about

the movie – I mean it's so much of you

know Michelle and Emmett's experience is

based on like just taking his word for

it so we have to as well and so it's

like you know how reliable of a narrator

is how right exactly um got a real quick

real quick fun question here from a

coral and Corwin Webb who's watching an

IGN YouTube once know is if that hoodie

is the movies group shirt I notice it

has the shower curtain ducky but it

looks a little different yeah this is

probably the first time I'm wearing this

six years it was a crew sweatshirt and

yes that's the duck that's on the shower


the her suit initially was just red and

silver and described that way and wait

let me go back to this yeah well that's

good good work Corwin Webb for noticing

that yes you guys there

but yeah this is this is a scene that I

think again really establishes a lot of

a lot of stuff for the film so the in

the reference for that is jaws and shot

and seven and every almost every

director I've ever talked about she

didn't double scenes they all go seven

like yeah it's that like everyone always

go for seven and jaws also it was great

but initially this scene with we shot

the movie under the temp name of

Valencia because as he initially right

here had a speech about the siege of

Valencia and it was all about it was a

really menacing all in one takes slowly

pushing in on him done beautifully

challenging to do all in one he did it

was the whole thing but the movie was

running really long and that's a really

long part and the dinner did this is a

whole short film in and of itself it's a

long scene so we really were trying to

take stuff out of it that was a really

likely candidate we didn't know that we

could pull it off and then one day and

just cycling through watching take after

take over and over again trying to find

something theater and I found this

little moment we both kind of gassed the

same time where he sacked it down and

had this weird moment of indigestion or

whatever it was and he like had this

weird look totally if we have him sit

down the table and he gives this law

we'd we were already on edge and unsure

of what this guy's thinking of us and

that does all the work that an entire

speech it was sort of kept joking like

it's like Indy pulling out the gun and

Raiders like they had the entire scene

storyboard and they were gonna shoot it

and then Harrison's has the idea of

let's pull the gun out actually heard

very variety of stories about that but

anyway this his his Goodman's menacing

look was are pulling the gun out of the

holster yeah it's just a whole ton of

shorthand and yeah one look yeah yeah

but I love I love how this scene is cut

just because you know on the the three

different axes that you have to cover

this conversation on just you know and

especially this Quebec here where she

laughed and then you cut to over her

shoulder looking back

his reaction specifically mad at her and

it changes the whole dynamic in the

scene yeah every every cut is

intentional which is why there's so many

split screens than this because it was

like the cutting pattern is so good but

this take of her and this way like we

had to keep on manipulating it was all

about which shots are they a together in

or her nemyt together in which shot is

he included in whenever we just with

them we're in their close-ups their long

lens he close ups where we're sort of

forgetting that he even exists we're

just in their moment and then you know

it was all dancing that dance I will say

some people it was trickier one of

screening for some friends weren't quite

getting why how he was getting so angry

and we were headed reshoot coming up and

genius editor once again I hope he's

watching because I'm really but I had

the great idea of all I need just do

because we reach out we create a little

corner of this room just for one guys

like jet Dan

just get me a close-up of when they pass

the salt of her hand in his hand

touching just just cutting into a

close-up of that

after he's earlier said no touch like

the power of the close-up it's one thing

for them to do it in a wide and whatever

but just cut in after we hadn't been in

tight for that long did all of the work

for us and changed every reaction we had

when we screened it after that so a

really great call the close-up of his

hands doing that was also a reshoot for

the same purpose and that was the hands

of our camera operator because we

couldn't get Goodman back in LA for when

we were quickly doing these so that is

somebody else's hands that's great but

for the same purpose of like creating

that anxiety and just to feel that

tension building when and and cutting

that in with with how she's looking at

him like this

yeah coming up there's this moment where

she grabs the keys and then we were

reveal that she has the keys we had

planned for one shot we're sort of booms

down under the table to reveal

and and then I had this idea of oh let's

push it in from the sides you'll see in

a moment it's gonna come up and uh the

camera operate and people were like I

think we were running along they're like

you don't really need if you want to go

home like you don't really need two

shots of the you're never gonna use both

be great if we shit you know it's like

they waged a bet that I'll never use the

extra shot and we used both so that's

why I had to go story I love this

conversation on report games

so does Michelle see Emma as her ally at

this point she does she see him as a

tool to her leaving I think right now

he's a tool but starting to warm up you

know in general I mean I don't know the

UI it takes a long time for someone to

really trust but you start especially

when you're stuck in a bunker that's a

yes but probably hoping he is and

getting the the vibe that this guy might

be more naive about things and and so in

that and that way could be trustworthy

but it's not on Howard certainly not

from this Congress dynamic not on

Howard's side against her

well it certainly sure I feel like it

shows to how cave well she is again

because like this all everything shifted

years after she sees the keys and then

gets the plan and then she's all of a

sudden being nice – Emma – so it's like

he's all all part of her sort of just

trying to feel out the you know where

the cage is electrified right yep should

say it's – like the inspiration for the

look of this dinner table scene it's

largely based on there's a photographer

named Gregory Colson that eat a lot of

his stuff served inspiration for Six

Feet Under

and that the whole aesthetic of this is

very him I'd loved

realised I couldn't do it full screen

about that I have to say that I found it

I find a very stressful how first full

only because I'm like if she couldn't

get out and she's seeing all of these

different ways that she could try and

escape like I would sir like I would

just be stuck in the bunker forever like

she's so I mean we were talking about

earlier but how she starts as being

already super source full and already

kind of like this badass am I allowed to

say that sure no I mean I guess we're

pg-13 movie right yeah only get one F

and everything else so let's let's sit

oh no it's not yeah there's the second

shot the key the second show um yeah you

know I think part of why there's so much

anxiety when you watch a thriller

suspenseful horror movie thing is

because your comp or you're not in

danger situation you're watching danger

and it's so hard but what you I think

you would find when you are in gnarly

situations I know I tend to immediately

go to what do I do how do I fix it what

do I do with you know I'd rarely am I in

the state that we often see in horror

movies of like I'm crying and I'm

freaking out whatever you scope it's

like you just start moving so quickly

solving how do I fix the situation and

then so that's you know what marionettes

talked about quite a bit and and I think

almost more realistic it it feels

ambitious and you're envious of that

because you're so comfortable at home

and you're like I can't imagine but when

you're really nothing and whatever I do

actually think that's a more realistic

depiction of what would happen she's

just ready to to spring right into

actually grab a bottle and smash it over

his head there's a lot of math here and

and man but steps how many keys can we

show and how you know yeah the pinnacle

reference for suspense storytelling is

the bridge in the in um I'm gonna said

lean on me and stand by me with how many

so many more that if you watched that

sequence that and the end of the

bathroom scene and witnessed with the

kicking the kids hiding in a bathroom

stall and they're kicking one by one –

classic see you know but it's like it

really stretches there's way more

bathroom stalls and are actually in the

thing and it'll eat and stand by me

there's shots where the tree that is so

far away they're never gonna make it and

the Train is right on top of them and

now they have whatever time and it

constantly stretches that this will say

freeze yeah oh this is a reshoot this

was the resource one of the things I

want to check back in with is in the

development of this and at what point it

became Cloverfield movie and at what

point were there anything that you

needed to go back and no there was only

one thing and I'll tell you when it

happens that was added after we had that

notion to give it that title this when I

start we've shot it we had shot the

scene and on and when we were in the

initial production but all the woman

said over and over even was let me in

let me in let me in and it was actually

pretty great and it worked and everyone

know did this scene is like oh we love

that's but it just we just had the

feeling and JJ really the push for

feeling it could be better

and it always it bothered me that's just

repeating the same thing over and over

again and so we redid it was not hard it

was just a door with a plaque behind her

and a light shine it you know and we had

her say some things that made it way

more horrible and way more challenging a

decision for Michelle to make so well in

the it only touched me a little like

that that gonna isn't that that's kind

of a Cloverfield specific thing to

something was establishing the first

Butterfield me right with the monsters

touching them and then people kind of

see I think that's happenstance I mean

because not because I mean a monic it

could be the creature it could be the

creature it could've been the gas that

was coming down but the gas only got her

a little bit and you know so I wish that

this scene could have been one take

coming around

but we had to check in with her and I

always bump me out that I couldn't just

hold on him but I will say there's a

couple longer or takes in the movie I'll

mention again and JJ was very like we

could just cut we don't need to you know

no but isn't it isn't it working

well that it you're with it he's like

you know they say yeah like a whole

runners don't show off and all that

stuff and then and I was like putting

force awakens there's an awesome one or

where you're like with Finn on the

ground the TIE fighter yeah don't you

tell me not to do a wonder he was like I

don't even know he processed that that

wasn't off mission impossible 3 there's

the great where you're it's not terribly

long but the idea that that like drone

whizzes by twice and why you're with him

it's a great and my editor was cutting

um was cutting a the rice the Scott the

Newark rise the Skywalker man he was

telling me he told me nothing

but he didn't mention one point there's

so many oh my god and there's so many

dope wonnered I can't believe just

really doing awesome you know and I was

like okay I'll see I will see if they

laugh and we'll see how well and they

didn't I mean they really I think they

did cut into a lot of which I think it's

awesome very admirable about him there's

some that I just had to like really

please let me keep this but he but I

thought was very impressive that he was

like the most important thing is the

story and you know it's not a time to

show off and all that so I thought it

was a good philosophy in general here

the other thing that that we seeing at

the door sort of did is you mentioned

this briefly before but talking about

shifting the headspace of the movie so

now so we've very quickly shifted from

you know Howard is there's a monster and

he's capturing in here too like Howard

might be a reasonable guy because he's

not murdering me for what I just did to

him and yep it confirms his story

so that's check that box like he's not

lying there's definitely something

happening outside there's no way he's

like asked a woman to at least in Martha

that's so extravagant and the next bit

he gives an explanation

a more plausible explanation for how he

encountered her and admitting that he

was at fault and you know so now we are

more like hope I would imagine still

skeptical but more likely to think okay

well he is telling the truth so then

maybe I do need to go with maybe there's

maybe this movie's gonna swerve a

different way now that I have to be edge

about and you know seems interesting

because you're following like it feels

like as an audience member I'm following

a similar idea of maybe what Michelle is

going through especially now that she's

about to have a needle up to this guy's

face mm-hmm how much power that

theoretically gives her yeah exactly

she could do something to him and

doesn't now we're absolutely no minute I

feel like she's taken every sorry to cut

you off but I feel like she's taken

every chance that she could and here

there's clearly an opening and she

doesn't take it yes totally yeah I think

this was always there the thing that we

remember the addition we made was the

his the spray can because the ending

didn't always have she was just giving a

different way and it were trying to fear

how can we make that more clever and I

love the way he speech about this break

in the this was always I don't know if

it's time not listening to it but I

can't remember the score here but the

reference the track we had here was the

lost rice well this was a longer scene

to where he really explained even prior

to this moment he gave a much more

technical deliberate explanation of what

he believed was happening outside and

talked about working in satellites and

Russia and it was more a more grounded

explanation and we did a pass but you

know the whole movie is a struggle to

figure out how can we make the ending

feel like a swerve and exciting

oh my god in a rug pool but also not

like at this movie like it and some

people definitely feel like we at this

movie like we didn't accomplish it and I

hope for someone who does work and it

part of that was like having him

reference alien stuff in the beginning

and in a way that makes us feel like

this sounds crazy he's a crazy guy for

saying it but then in the end when it's

there it feels like it's a setup and pay

off and hopefully smooths the curve into

the ending but oh man there was a whole

thing what was the deal with this

picture God there was a thing where

audiences were not getting that the girl

he's showing in the picture here in this

scene is the same girl in the Polaroids

that's what it was this solve we were

like I don't know how to stop me like

it's the same actress like at they're

just not receiving it to solve once

again I think was our editors idea

putting a mole on her face and so

instantly there was there was

recognition this was so this was the

other reshoot that came with when we

changed the opening it was all about

the opening and this scene and I think

I'm very heartened that we finally got

to a place where her backstory is quite

meaningful and creates the real estate

for her decision at the end to be moving

this is this is a really interesting

conversation visually it's just they're

having them in two different spaces with

two different color schemes yeah I

really wish we could have done almost

could structured in support out one to

shoot like a split screen of them like

organic you know not like I'm doing a

crazy visual effect but like we could

organic like shoot from the hallway and

see the door frame splitting them as

they're talking both sides but it just

there was the walls work too wide and

there wasn't enough room and a lot of

because we built the thing we built the

structure we really also tried to dance

of getting wide enough where some

sequences felt like watching a little

diorama of these people that are

contained in this box but you also don't

want to break that we've made a very

conscious decision early on to not do

panic room to not do like we're flying

through walls and we're cont which is

certainly a way to do it contained

thriller like this but we really want to

feel like we are stuck inside these

walls and not have the Liberty to fly

through them so it was always this weird

to dance to figure out like how wide can

we go before we feel like we break but

but also where it's visually interesting

and gets us a composition that is saying

something so I mean stuff I'm not doing

that split screen is the point of the

story but this does read very prison to

me like very like they're in prison

cells totally at night when the guards

not around

yeah lights out yes for sure

camp might be a more pleasant but but

not as happy fellas as what it actually

is yeah this is a common so this was a

reshoot some of its reshoot some of its

shot so her hair was a whole continuity

thing and there's some ADR stuff and I

guess I'm ruining the movie for people

but for me really I'm ruining like I

don't want people to know how the

sausage the this was a experienced ADR

for me I obviously never made a movie so

i you know but i was always allergic to

the notion of it and to me working on it

it always stuck out so we can't use this

there's no way and never bumped anyone

and I've certainly more aware of it when

I'm watching other movies now and in one

moment recognizing that's it ER and also

like I guess I'm cool with that like it

doesn't use you're so thirsty for

information if you're watching a good

movie that that kind of thing doesn't

funk but they're large I'll point out

too there's a huge section where Howard

is speaking about a lot and we are not

on his face we are on their faces the

whole time and it's all ADR

suave I call movie magic

yep but they're both great here he's

there and they were the loveliest pull

to work but it was a good hang on top of

a good professional experience that's

great yeah actually there's another

comment here from tomato sauce wondering

tomato sauce is curious about the

casting and what made Goodman and said

and Gallagher right for these parts but

they always are you kind of addressed it

with Goodman already but they always

yeah actors that were rewriting for them

know what I didn't right we didn't

initially right you know but yeah but

even when I first heard on they well

Mary Mary there's someone that we would

hope that we could have do they didn't

think we could us I think also a little

worried about she wasn't the thing you

know so I think I was sort of like the

thing riemann found it's similar kind of

deal and was worried that she might not

want to double down on it we read a lot

of actresses for the part couldn't quite

find the right person and and I watched

her in the movie called smashed which is

a great movie and she is amazing so good

that I made her at me I don't made her

but I asked her to literally with that

thing that you did that one scene

smashed I pointed out but do that here

please like it's so good you know it's

not till the end of movie but uh so that

was like a dream and she loved she was

super down it was awesome and John

Geiger jr was also like the whole time

we were like it's junk Al Gore jr tight

but what it you know and an event we

would read a lot of people let's go to

John Larry jr people were auditioning

with sides from a scene that was cut out

of short term 12 I say some people were

some people were auditioning with those

sides some people who got the real thing

we accidentally

sent his agent the audition scenes and

that were from short-term 12 and his

agent called up and was like um we

already booked this part so what are we

um and it was a horrible apology had to

be made and all that but but so yeah he

was what we all hoped we could have and

he loves this kind of V and has

subsequently been in a bunch of genre

B's of its ilk and just yeah super fun

and good midnight yeah we explained

earlier who's not the first idea but as

soon as we had the idea the most

exciting is the most obvious totally all

of that shaking is people shaking either

shaking the wall with her hand kids like

vibrating toys and they're stuck like

underneath the furniture or whatever to

like get the vibration I love that hey

that's the used to talk about ruining

the movie but like that's those sort of

like weird little ingenious fixes they

have such a long way there's so many

poor man's versions of things for a

movie of this scale lots of fishing wire

attached to things to pull things though

there's so much cursing wire so this

coming up see we're on his face here I

grab what happened cuz we wanted to make

it more alien a less grounded

okay now we're off in this is all a br

oh section it's a long time guys still

go it's and I'm like people are gonna

know that we're just like plugged in

something and then we're back great

sound team that made it made that stuff

work that if they weren't as good it

would not have been as good how much

time has passed at this point while

they're in the bunker lemme let me tell

you how many people asked me that long

me it was I will answer them in a second

I just want to point out here's there's

a thing that people always say is a flaw

and it is not a flaw he's describing it

right here

later on the movie she goes she goes to

the air ducts to get into this thing

and women said like why would he build

this thing that he could never get to

it's explained right here this is

there's a hatch for him to enter that

room and something has fallen on top of

it so he can't open it so now so I'm

gonna there is a way he built an access

point to that and he can't so that was

not no oversight anyway I know it's thin

but it exists and so take that


so you said how much time yeah I mean

that was kinda the answer was always and

cuz continuity is always that wardrobe

like make up with her like her nail like

everyone needs to know and for me it was

always just a general a lot of time now

it's been a while no like is the point

is to not actually know she doesn't know

we don't know it just wants to

emotionally feel like it's not been a

couple days now now it's been a while I

think the montage sequence is like

they've been down there there but that's

all they have a rhythm yeah yeah

but telling the story about with her

nails tell the story a little bit of

like oh now they're being the polished

has chipped away slowly but surely and

every helps tell the story so it's I

never want anyone to be like oh this is

three weeks in or what you know yeah

just yeah feels like well yeah all those

all those little details just end up a

much bigger picture next time you do it

we we had a constant I was a running gag

it's not that funny but where's she

because she played John McClane's

daughter and died ha two of them and so

and she kept on having to a shit to do

that it's gotta be die hard but it was

tough to get the can space to be that

small but we kept she never knew if she

the camera was gonna be full-frame in

her so she was insured

can I wear socks or not so we I

constantly it was it was can you go full

MacLean or half the plane on the socks

or bare feet this is a good time oh no

ahead that there was a letterhead there

that's a bold Futura which was that was

a link to the AR

gee that was happening leading up to the

release of the movie that was linking

this to Cloverfield so that was a

reshoot we added that in and the link

there I should maybe I misspoke earlier

and saying there's nothing in this movie

but Howard works for the satellite


Oh God is the name the company Baldrige

sure uh no I don't it starts within it I

think but it's a company that Rob was

gonna leave New York to work for right

there's uh I don't I just there's a

satellite that drops the end of

Cloverfield that causes the thing you

know like and so we were he works inside

he works at the same company and it was

the same part of the Arg leading up to

the release of the initial Cloverfield

uh at one point we had shot a great jump

scare here were a dead bird slams into

frame as we're looking up at the sky I

was so excited for it was such a good

jump scare but JJ was like it's a little

convenience that the thing falls on this

guy like fair point I can't argue that I

do love them but I was fully expecting

that to happen and it seems so like

there there is a a really kind of the

function of the scene sort of becomes

like assume there's gonna be a Jensen

there's just tension yeah you don't ever

get to release yes yeah the I love thank

you for that and I love that in general

learned there's a great sequence in the

movie boogeyman two direct-to-video

sequel directed by this guy Jeff beaten

who's an editor and he directed that

movie and I may be another but he at

it's like all he wanted the ring and the

grudge he was like and he's still

cutting awesome and in that sequence was

a like one or with a girl it was made

whitman and going around on the room as

the things coming it's like a classic

cat-and-mouse thing like the like the

jurassic park kitchen sequence and it

never the jump-scare never the whole the

scene ends and the audience laugh

because the jump-scare never came we

were all expecting to jump-scare to

comment and never and that made such an

impression on me of like yes like that's

the way do it because there's so much

math in this we're all um I just want

not that help thing was also another

huge deliberation of like its help

spelled is it Platt

or is it help like right correct class

we need to read it or yeah like it was a

whole so there we put it yes you got it

yeah that's a mole well hey listen

before we get too far away from from

something that you mentioned a second

ago there's a comment radio girl 95 was

watching an IGN once – no were you

involved in the Arg at all and what did

you think about it reality that name is

a was a part of Arg I was I didn't craft

it myself but um he's got a Dave Baranof

who was the head of the video game

department and big part of the energy

for the original Cloverfield I believe

and he took it and ran with it but I

definitely got to get gout with him and

come up with some clever stuff and we

recorded stuff which I'm good for that

they are G some audio things so yeah

once again there's the Bears the first

time a pole two is the mark mole yeah

god this was a bear

yeah trying to make this explanation all

saying her so creepy and then going from

the picture with the shirt to the shirt

yeah something creepy about Paris to me

something about I don't know what what

this was it this was like one of the

days I was the most nervous about the

dance like knowing that I what we wanted

it to be and meeting

unsure if Goodman was gonna be cool with

dancing for camera and me and like what

do I do if he'd kind of doesn't really

if he just kind of stuff a little like I

need to like get him to really but it

was great we played him three songs that

were we knew you were already clear and

he picked the song oh cool

yeah yeah this is such a like and again

we've we've gone through another one of

those headspace shifts

you know obviously the help scene did

that for us

yeah but like it's such a weird thing

seems like I'm always in a musical mood

and it's like oh god that's terrifying

now where is like two scenes ago it

would have been like a coupie okay


okay right shower curtain okay this was

said earlier the shower quick though

yeah it was always described as this red

and silver thing with the duct tape and

the red thing and great JJ note of like

we gotta like give her a Happy Feet like

it would be so great

if you make that iconic you know and you

and it's something that in the in the

face of Armageddon she's wearing a happy

but we couldn't be a happy face because

like Watchmen had that face and so it

was a whole Megillah of figuring out

what could be the thing without being

like it's just there for the you know

had to get the rights to sixteen Candles

they're pretty pink yeah made a mistake

it's a mistake

we were there were there any other

options for the shower curtain besides

making it I think we did try

happy faces and we just tried a million

different kinds of debt like isn't a

million ducts all over it is it one is

it just the duck face the duck cloning

the umbrella we finally figured out you

know but yeah there was I'd have to look

up more but there was a whole thing so

this is the one ER that he maybe was

trying to get me to cut but and it

wasn't it wasn't an ordered this way it

was sort of found in the way the camera

was like resetting and a actually we

think maybe I was attached to that but

also I just loved that there is this fun

little spy mission that we're going on

to mean injected a bit of like ooh now

they're like sneaking around and we're

more this is how we confirm that mmm it

is cool because he's doing something

it's the only scene in the movie we

broke our rule that we want to never

leave Mary

the rest the movie we are there's never

seen where we're not in her POV we're

not with her this is the one time we

braked that witch tried not to we

actually did shoot her watching him did

pull it off the Roofus fish tank put the

shot it was just like the fish tank and

just like her head it was just it's him

it did not work but I think this firmly

roots us in okay this is a guy till you

trust he's he's not behind her back

talking our and saying whatever he's

literally trying to like sneak around so

I just loved the vibe of that tone of

that shot and really wanted to hold on

to it um I like it sooo coming off the

heels of like the montage of everybody

kinda like a lot of cuts and then all of

a sudden there's there's there's nothing

again just one thing play it out in real

time and how deliberate he's being I'm

with you man JJ let it through in the

end so Sidney you were gonna yeah well

it's funny that I'm gonna ask this

question after you just that scene is

when the only ones that you guys break

from marry but your background is comes

from video games and that feels very

video game do that like intentional do

you think subconsciously that is the

type of always that you gravitate

towards both those things it's I took as

much inspiration from my experience

playing half-life 2 and Last of Us and

uncharted as I did from the movies that

I watched and and the you know with the

thing that I would always say about is

like I find first person shooters first

first-person games to be less immersive

than third person games even though

first person game you are the character

you are it is you but I feel like when

we're linked to a character and watching

their behavior

I can then relate and identify and feel

for that then when it it's you it's me

so dear guide let me just say too like

figuring out this conversation where

it's like who's it should he Vaughn

here to be the guy but then is that like

he's putting down her because she's a

girl like but we want to like him but he

needs to be heroic in some way but she

needs to be her like this was such a

like how do we do this

I think we I don't remember what it is

but I think it's okay but so you have

video games have always been a massive

inspiration and certainly for the

filmmaking in this movie and the kind of

movie that it is in general this was a

reshoot this whole scene and then sorry

this was an addition to this this was

this was a we did not have an in the

initial script there was a whole be plot

where Howard's got like drugs that she

likes and sedate sedatives and she

realizes like oh that's what she's

giving to Emmett or that's what he's

giving and that was her like oh he's bad

and then she has to take a shower and

it's his tense scene Howard dancing in

the background and then and she just a

shower with no curtain and is he gonna

come in or not come in I just felt like

the movie doesn't need it we're not

doing that the whole movie I didn't to

be exploited exploitive and showing her

naked and and not even just in LA cuz

it's silly it's just wrongfully

salacious but also it's just a go-to for

horror movie two legs just a couple over

there with you know and a shower scene

just felt like yeah okay we've you know

so we were trying to figure out how do

we we we beat some sort of thing where

we feel like oh he's on to us now and I

probably to a fault was hell-bent on

like we gotta have a scene like

inglourious basterds like the for that

game and the producer like in longhand

like while we were shooting like wrote

this scene and then we like did stuff to

it we made it worse and I was like you

know pretty like that's just exactly

what he wrote so this scene is like

literally from the heck yeah

my favorite it's my favorite teams movie

yeah it's really great too because

there's a there's a weird layer of humor

underneath it because he's so bad at

this game

yeah it's like in the one hand look

funny cuz he's bad yeah he equates like

all girls with princesses like like it's

storytelling but also it works as a joke

but like insight into his character and

I love watching the scene and just

choose either Mary or eminent to look at

and like if you just look at Emmet and

this in the whole scene it's hilarious

his reactions to what's happening next

to him you know what I mean like they

like it serially anyway that's great uh

real quick just when we were talking

about video game inspirations down John

on who's following along on Twitter

wants to know what portable movie ok but

I don't know is that portal movie in the

works date bedroom has been developing

it since it was announced at duyst's

however many years ago that was I

casually talked about it with them at

one point they were portal and half-life

both of them are awesome I don't know if

they're still I just I genuinely do not

team they you know people there and with

their deals and studios and all that

stuff so yeah I don't my answers I have

no idea please sorry

nor is yeah I'd probably have to say

that anyway but that I actually hung

another barrel of asset so this is the

barrel of acid yes this scene is another

one like he talks about earlier at the

dinner table that it's a really

incredible kind of slow play of an edit

team also yes and the iterations that

this went through initially no barrel of


in the scene it was just he catches

their stuff and then I think he could

front something in the hallway like what

is the stuff and their whole thing takes

place there but we really wanted to like

milk it

so we developed it into it all happening

around this thing and there was a there

was a version for a long time where he

like pulls out the gun and gives it to

and I was like hurry I'm gonna take it

go ahead

like I think milking it a little too

much and also I just feel like we wanted

to forget about the gun we wanted to

think like thinking to happen with the

acid and we're doing something whatever

so when he pulls up the gun we're like

oh like it all happens so quickly that

our breath is taken away but there was a


oh how you say I'm having a hard time

focusing on what you're saying

so it's just oh that's so weird

that's so awesome and it kind of effect

in this format

the interesting thing I've done a few

thriller II things and what I find

challenging about them is unlike other

genre like a thriller or anything scary

not scary when you're reading it

arriving it not scary when you're

shooting it not scary when you're

reading it and you've seen it over and

over again you know so you really do

have to trust the craft and the

mathematics behind holding for tension

when you release and what you know and

you don't you're not informed of it

being scary until the reviews and people

see it you know I need a black mirror

episode after this that had a spider in

it and I thought it was a fun little and

I got all these like oh my god the

scariest a bit like really it's just a

you know but like you know you did some

science there you did some crafts in the

basement yeah yeah the the the gun is

coming out of nowhere and and also the

shot right before it kind of cuts back

out because like it invades yeah

Michelle's close up in a really

uncomfortable way yeah

I'm longer now or longer here pushing it

on her this sound design here is really

cool too yeah we really didn't want to

do this the tinnitus thing because it's

it's a go-to but it was unavoidable like

yeah it's emotionally right we do it

so did admit no that he was going to get

like volunteering clearity

I into that scene we know I'm it's like

kind of naive like what's he naive

enough to believe that he wasn't going

to get shot in that moment and he was

just gonna kind of get a slap on the

wrist or do you think I meant knew it

was coming for him when he was bathing

Michelle ah

you know I think he was I think he this

is the first time I was like where he's

choosing to do you something and not

just going the way the wind blows um I

would imagine he was hoping that it

wouldn't be death but had to take the

risk just in case because he didn't want

that to happen to this other person so

the very early on there was a note about

let's have fun when we're in quarantine

they should be eating ice cream at some

point instead of putting it in the

montage sequence where essentially we

came up with this horror horrifying use

of it by putting it here and then also

the shave was a sure I I was really

hoping that he had just done a movie

what was shaved just a Trumbo I think

and so I was and I I had the idea for I

met him out we had figured out oh my god

we should just think you know and he was

clean-shaven I was like dude starting

today please grow it and I wish that he

had gone to full bush

before the movie started but you know

it's still enough where it's significant

that you see the it's meaningful that he

shave you know it says something well

there's a really nice sort of call back

to how he first met him with just like

only seeing his legs for the first part

of the scene yeah there's some moonshine

on that shelf too I believe

nice that we never see we actually got

there was somebody following along on

Twitter that there was they were seeing

or watching it with a swap pop I gather

actually speaking some of it they're

probably from New Orleans WOM pop is an

actual yeah yeah and in the house it in

Texas to I don't know I don't think so

yeah I've never okay so it might be

super regional then yeah there's another

question from receding Sampson on

discord if there are any other any sort

of ornaments or objects in the bunker

that you were passionate about having

screens on that were either hidden or

obvious jumped out as Tastykakes I'm

from the East Coast tasty cakes are an

East Coast version of like Twinkies or

hostess stacks I grew up with and a

Gallagher jr to was also from Delaware

from Philly so you know it was it was a

thing for us so they're there I don't

know if they're I don't they I think

they might be in like one shot barely

people I feel like there's some movies

that are referential in his movie

collection I mean they're all paramount

movies that's what we have with them

right so one with her lower there

watching you can't believe they pretty

big I mean definitely improve that a

girl who's building a dress you know was

and with a conversation with her father

was significant for us for sure I think

this was a comp it is something why

don't we not you not able to fit the

camera I weren't be able to fit camera

pulling back over the thing so that to

be account to hear about Howard and how

how capable of Bill and

here too we talked a lot about it like

building you know Michelle is very

capable but like how it seems to be more

or less on top of it every step of the

way so it's tricky man for this but this

is another but um that didn't it wasn't

that hard that because Mary's awesome um

but yeah there was some requirements of

the plot that needed him to not be aware

of things and there's some things that

we but use also it's you know you want

to feel like this guy's from people but

there was this figure out this I think I

really got to give it a line we need to

catharsis she's gotta have a line but no

but it's like but you don't can't be

ISIL Avista big like you know I can't do


but it needed something and I really

feel very happy with that exchange it

took a long time for acid the bare feet

– yeah it's just that I described a

bajillion times though we struck with it

I don't know why it was like it was it

the meetings about she lands then we

come around and I don't know what it was

there's something well that shot to be

walking his so this is there's actually

digital factor that did I think so poor

his face is actually erasing as the shot

goes on like it's it's it's growing the

acid angle but it's so brief and I think

that's what maybe took a little bit of a

hit with the rating the way I didn't

minimize it we did the I think we just

do sash but this day it was like the

huge day for me I'm never doing any and

I'm so serious and it's like everyone

else don't like giant explosion movies

and I was like oh my god the flame bar

was very exciting for me and no one else

that I remember also it being such a

head-scratcher for me of like she's got

a crawl through

she can't be wearing the suit already

cuz the suit would clearly just get

ripped up there

she was already you know crawling around

in this thing so she's got to carry it

but there's no room to like like she's

figuring out the whole like tying it to

her was a thing oh this is all so yeah

let's do not feel like we got the scene

but the editor did a great job he

flopped some shots repurposed some

things and I just felt like this was

definitely gonna be reshot and he didn't

really reshoot any of it but there was a

lot of deliberation about how the good

meeting the catharsis are not evening

the catharsis of seeing Howard die on

like can we get some finality in this

shot we're looking down do we see him in

a pool of blood

or when you know like an how and what

and it was very tricky and then it

seemed to be okay with what comes later

with the explosion that happens yeah you

know I was reading something about the

original script ending and that Howard

doesn't die in that script were you

still were you attached to the project

and part of that decision to rework this

on me or was that decision party that

drafted script I've never read and the

version where Herot that was very

different in toad-like like howard was

sort of a good guy and Matt and Michelle

was not treating him good the whole mood

like not good and so in the end when

power was proven right it's like I you

know had to learn her lesson through the

it was all all the characters and Emmet

was like Howard was good and Emmet was

bad in that version like that it went

through those kind of thing flips and

flops so that was all changed that was

what they wanted to address before they

even I guess heard me when Damien was

gonna direct or whatever like that well

before my time so the burden that I read

always ended the details of the end were

different and the creature was

characterized differently and was all

set during the day time and like it was

that the beats were different in this

ending coming up but

but still it was energy gets out and

then the assets the Affan and it

functions like no other movie functions

which is what I was so excited to to

make it that rig inside of her that was

a nightmare

getting trying to slim down the camera

and building that thing and it's like

every frame that you see when we're in

that sort of POV that sort of sunshine

in Ken helmet vov every frame that you

see is the only piece only bits of frame

that usable after that it slides and it

just it did not work so this was like oh

sorry go ahead clean so this is

obviously a really pivotal moment

because the film is kind of switching

genres at this point is there

what kind of special care went into

shooting this so that it wasn't too like

jarring for an audience member like what

are you thinking about to make sure that

I hit well I bought it I don't know that

we stuck them but it's staying with her

for as long as possible before this

shift we definitely you know I some you

know there was verses where she runs to

the house and it's Howard's house and

we're in the house now we're seeing work

like I always wonder should we have kept

our din the movie in spirit longer so

that it you know we shifted to nighttime

at one point was all during the day I

will always wonder if we kept all during

the day would have felt like

post-apocalyptic rather than Harvey I

you know I worry about those things but

I do love I love that it's like the Sun

is setting

feels like a ticking clock so I I love

the visual equalities of it for sure I

will say I think a misstep sort of was

that I think could inhibit it from

staying feeling like it's always on this

is the whole movie shot anamorphic this

was shot fear eclis because at the time

before we had the idea of it being

Cloverfield and all that

I was like wouldn't it be amazing at

this little movie could be released in

IMAX and the end of the movie there's

one of those shifts where we go into

iMac kinda like belly her break kind of

like crying but laughing and whatever

like we're just going through this was

she did the exact same thing and smashed

and was like oh resistant this moment

needs whatever you had to go through

there is what I think I asked her to

like what we you how did you you know

and she was like she was had a hundred

and two fever she was super sick and you

know the most physical stuff of the

entire movie I had no I've gotten sick –

I um I just like writing things um and

so I think she was just like laughing at

how ridiculous her life is at that

moment or notlet but getting emotion

that um but uh so yeah I didn't think so

I wanted the feeling of the movie

switching to iMac in a poor man's way so

I thought oh what if we shoot the movies

anamorphic and the ending it goes

spheric so in some theaters it will have

a little bit of a shift and they'll just

be a different oh my god the movies open

I'm finally breathing I'm getting

daylight first which is what I was gonna

say what first man up doing anyway that

was the idea the whole time and then I

found out that like some theaters like

they wouldn't be able to map the screen

cuz her old theater so you'd be

projected black I think if we if we

ended up doing at this house like oh

that's good and then my sound the sound

is diner who was also an assistant

editor and just a good friend big part

of the project said Dan like the movie

some looks so much better if it's too

far out like the end like let me just

did the to Flora framing on descent

sequence and it looked so much better

and I was like right fine and we ended

up not all my dreams of like the article

in American tog refer about we did this

unique thing where we whatever went out

the window and we just did it so there

is but I do regret then like there might

be a subconscious feeling about the

ending where it just looks different

because we shot it's very CLE

hmm but I also could be bidding

well that actually sort of already

answers a question that we had somebody

watching on hygiene YouTube time ranked

and asked what is your biggest regret of

the movie what was an idea or scene that

you had to cut

yeah it's it's a big one I mean I don't

know it's whatever I wish that we know

we're gonna be that Oh the joke of it

sorry the but now is we're released in

IMAX and then well that's a clever thing

is they go yeah we got it so that's our

guy just just never never know I'm not

feeling like we did the right curve into

the ending is a regret and nice of

mothers that I'll keep private but

that's their enough that's the shareable

one I think so yeah as we do get into

the inning this is really compelling

steep wet spear like I like and we like

you said shifting from you know dusk

into full-on night and then just

building out as far as a kind of a

little action sequence goes it's a

really good thank you for saying that's

awesome yeah so there was a section of

this that we're about to get to when she

was running away and she ran into a

piece of farming equipment and runs up

it and John I was a one-er didn't work

it was a lot of it cuz we had the sort

of cowboy switch to a to a stunt woman

and then back to her and it was a whole

elaborate thing that felt really

exciting while we were shooting it did

not come together and we were like how

do we get from this part of the chase to

like her back in the truck and we

realized we could just put a giant house

instead of the forming the FARC was

still kind of there when she looks at

but beyond it we put this house as the

lure i've been concocted this whole

thing where than the light shining

through the ship as if the ship in the

and it's little worker bee alien are

kind of talking to each other and and

luring it in so that was a whole thing

that was not in the initial plan and

covering up my mistakes when when it got

into creature design for these how how

much of that will anyway expect about

the relationship with the original

Cloverfield and yeah how much of that

creature design was was from scratch or

was there any is often I'm finished

yeah Neal Scanlan who was she was doing

start force awakens the same time we

were doing this so we had his help in

designing and I was hell-bent on making

these things organic and JJ was

hell-bent on there being tacking armor

associated with them just to feel like

theirs which is was good with sentience

to the how they travel to our planet if

they're just animalistic and so it

became a designer's listening to two

directors with different ideas like Oh

what if it's bio-organic you know like

biotech EE I kept on referencing to once

we got there I brought up as you guys

will be event I brought up Gears of War

that are like I love the idea that like

the spaceship is like some space

creature that like instead of like

pulling the rudder on a boat it's like

pulling on its organ will make it turn

left or right so it's like grafted on

the tech on top of its organism too so

that's why it's got a mouth and its

whatever and same thing that there's the

little dog alien is like it had a name I

forget what his name was but it's it's

armored on the front and it's organic

and the on the inside pulling pulling

your helmet off right there

great like hell yeah how terrifying is

that that yeah yeah so super excited for

maybe maybe the movie I'm 3d release and

like well that would be to like be there

seen the deep like from you know didn't

happen but this is all in bad robots no

no no no no no I'm lying

some of it was in the garage bad robot

most of it was New Orleans

Hirano think I've like on almost

everything I've done I've tried to redo

the best part the best shot in a dress

of park movie is in lost world and it's

when the trailer goes over the side and

we're looking at her and she's falling

towards us and then smashes randomly

reveal oh we were looking the trailer

window and the boy I did this the pilot

the show the boys the characters thrown

towards the window I did but every time

I I do it it's four shots at last 15

frames so it never ends so the same

thing with her landing when the thing

gets pulled up I was so excited like

saying it yeah but that it's I can never

I'm like literally like I'm playing I'm

pointing the finger now like one day I

will use it better and I'm just lifting

it from someone but it felt right to do

it in that moment but anyway as you live

here like as the car is dropping and

hard cuts of black like the symmetry

between that in the car crash I really

enjoyed him from the beginning that goes

straight since I'll see this was a

regret sort of and I really loved hard

cutting to black and then having the

ship come in in the corner frame as if

you thought we cut to black but actually

no we're just looking at the night sky

and then he comes in the effects or not

this was like two days before audiences

or net we're still finishing the effects

and we went to the color I was like this

is where the effects are now what can we

do and then a very good idea what was

had that was painful for me

to receive which was what if we just

starts off focused and isolated but

because of that it then adds to do that

slow fade up from black so we're not

doing the guy ago anyway this is my own

mishegoss but it suppose you asked about

regrets that popped up well blame blame

Tom Rankin on that I will so there is

one test audience

the only time we tested it that saw a

version where more happens she gets in

the car she's turning the radio on and

then a creature bursts through that so

that shot the tank over the lane that's

the only thing we had adapted after it

so as a joke our post supervisor said

it'd be funny if like we put a mailbox

in there and she hits it and says like

10 Cloverfield Lane eight you know and

we're all and then like it got quiet and

that's a good idea yeah and then we like

when we round the shot and we saw like

we wash it me like oh my god we could

literally put a mailbox right there her

car it looks like her car's taking the

corner Wilde anyway like and it all it

was awesome

but uh there something burst through

when it was choking her and she like

looks in her rearview and sees the ship

of flamed and drives the thing through

the flames to burn it off it was like a

whole other sequence and the test was

unanimous like we've had enough like

it's going on I was like oh my god you

know but I I was actually about the the

mailbox time there's a question for

somebody nest on discord asking about

the title did you guys have any other

variation of a title with Cloverfield

anyway I just nothing that anyone

actually you know so it was but it was

all like it's the chloro field files is

it like the book of Cloverfield you know

like what you know something that really

sounded like anthology

and then this we arrived on this the

movie yeah we never um and yeah by the

way my mother favorite part of the movie

this title stick just um yeah I mean it

was the last thing to happen and I kept

on talking about this titles at the end

of Inconvenient Truth I feel like this

was a Kimber it wasn't exactly like this

and we had these awesome guys

pitches ideas and we figured this out

and like I just let the music the quote

the way that it's dripping it's not just

like a quick little it like it's moving

in a very specific way and I love the

score like hit it off yeah it's a drip

like trivia and that's my way to

describe yeah about that and I loved the

marketing I feel like you know there's

that I think it was like a Twitter

thread going around that was showing

like the like five types of movie

posters and it's only so refreshing to

see when that isn't that but it's right

active I gotta tell you yeah it would we

saw Friday posters that was I have a

whole spinning titles like I had I was

early on and I stole this to the studio

like in the studio was her other thing

was like what if we called this movie

below and then we make another movie

called above and where it now she's

above ground she stopped and then in the

third movie she's in space and we call

it beyond so it's below above beyond and

in the post I was like the posters guys

the first poster is like little bit of

Earth of top and then down below is you

know the second poster is like little

strip of earth here and an all-sky we're

about and then third posters just just

imagine them on a wall next to you the

problem with that idea was then you have

to call the first you have to call this

movie below and it there's already baby

there's already like horror movies

called Lola like it was like rah but the

idea of the

next one being called above is bad like

I just think of the past I know I know I

just could not drive at home the whole

way but but but so I love this post I

kept it on I remember

emailing someone or whatever I wasn't I

was like when are we gonna see like the

other post like this was already out in

the ether knows it when we get the

posters like John Goodman's faced Mary

you know and like no this is it posters

like oh we don't have like then the

character posters or whatever we're like

no I was like wow that's bullet but then

we did get a very cool from the artist

eight meets girl who was a huge fan of

did a special imax poster which and if

you've seen but it's like it's a mailbox

in the foreground the house and inside

the mailbox you can see Mary pounding on

the like little it's awesome and there's

some shadow files in that poster but

that was just just for IMAX so oh wait

am i lying there's another yeah these

Bernard harmony things that I guess to

be there for video you might just not be

sure I don't know if you're lying I'm

not sure Dan yeah yeah uh well dan

thanks for watchin movies with us we if

you don't mind we get a couple other

questions absolutely for the end first

and foremost the most important one

track down that Twitter user who was

drinking swamp fabio's at Karen and

Kenta they replied said I'm not from

Texas but you can get swamp pop swamp

pop at world market so plug for world

market this she's got a she has that or

the user has that long-term shelter

supply so good for Karen and Kent on

Twitter having plenty of spunk pop just

when you clear that up real quick but

also there is a user on discord whose

username is a whole bunch of X 0 9 8 3 6

8 1 904 what's your opinion on kaiju

films like Godzilla chimera Kong Pacific

Rim and would you ever like to make a

direct straightforward

kaiju film and if so which

three-point question probably uh I mean

I was haunted by them growing up like

most of my generation probably other

generations I loved watching them they

scared me

the beach I think it's tricky to figure

out a unique way in because now we've

had quite a few

I have not seen the more recent Godzilla

dodge format realized as as a measure

there's one that I yet that bear did

this core but I like them yeah I do I'd

make one of those figured out a cool way

to do it for sure there's another

question from Dominic man who was

watching on YouTube on an IGN and this

was a question that popped up from a

couple different people but would you

want to make sequel to acai assuming

it's not above yes


I always felt like

there's definitely a fun a really cool

way to do the next part of her story

that I would love to do at the same time

there's something awesome about their

never being a sequel to this you know

and I think it ends on a really

beautiful little gracenote journey which

is great so

I would I would if I could but I don't

feel that we need to

there's something nice about her driving

off towards towards the trouble yes she

was running away too and running away

from in the beginning yeah

so they had segues into another Alan

Noah on the watch organized Jean what

what movie do you want to do that if you

can talk about that I mean cat I've got

several things in the hopper I don't

know if we're gonna be making movies

again but I'm chomping at the bit

many of them have been announced a few

of them have not so I be very excited to

make any any of them if the trigger can

be told I've been working very hard what

were the reasons why I've been doing so

much TV after having done this movie

I've been made in other movies I just

been very hard at work on doing cool

original things uncharted being a

notable exception to that but for when I

was on it but it's harder to make some

of these original things and I've just

been pushing the boulders up uphill and

don't want to give up I don't want to

collapse under the weight of that yet

still filly I think keep pushing in it

will finally get over the hill and it'll

be awesome so been working on some TV

stuff in the meantime but yeah there's

definitely a bunch of really cool things

there's a Houdini movie I'm on that's

all there's this movie called milk and

mylk mom I'd like to kill that is


bunch of others some bear out there some

are not way that people don't really

know what they are so I don't give it up

just yet but yeah

there's another question well first of

all really quickly uh is somebody on

Twitter drew Taylor wants to get the

hashtag released the Valencia cut go see

that any timeline come up go and support

that I suppose and then there's another

question that that a lot of people came

up a lot of people had Jacob Weaver

being one of them who was watching on

IGN YouTube if you know anything about

the future of this of Cloverfield fare

in chunks nada not a fan

yeah I don't I mean I I know I know


yeah some people somebody's bad all

right well then I really appreciate you

joining us again thank you very much for

for being here and everybody thank you

at home for watching be sure to tune in

tomorrow we've got Jurassic Park

actually tomorrow night's that will be

watching along with Joseph Mazzello but

I will probably be watching that that is


well I'll have to tell him that the best

Jurassic Park shot was actually from the

sequel that he's not a hey yeah there's

a great by the way to get ahead of it

guys on YouTube there is a

behind-the-scenes moment that I've never

seen for any other Spielberg stuff that

is a scene where Spielberg and Mazzello

and Ariana Richard the girl they're

doing talk about the jeep scene and it's

like a long unedited shot of him

discussing the scene with them and

blocking it and it is awesome so ahead

of tomorrow watching young Joseph

working with the legend in all its

behind-the-scenes glory great well we've

all got some homework yeah cool well

thanks again man and and everybody again

thank you very much we'll see you

tomorrow night here and watch them home

























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